Feature - The Disney ‘Live-Action’ Remake
Image by The Dark-Mamba-995 via deviantart
Over the past two decades, remaking an already-existing story within the film industry has become a significantly popular practice. While motivation for this concept may lie prominently with acquiring large sums at the box office, the more fundamental motivations can be depicted through the three R’s: to refresh (improving on the original film), to revive (keeping the story alive for future generations) and to rejuvenate (adding new creative flairs to stand comfortably within modern-day cinema). Addressing these points whilst producing a quality film poses a difficult challenge for the filmmaker and production team, for they walk a fine tightrope of triumph or disappointment in the release of their final product.
Ranging from the questionable reboot of Carrie (2013) to the critically acclaimed The Departed (2006), the fiasco of Fantastic Four (2015) to the mighty and well-received King Kong (2005), the film industry has welcomed an array of remakes into the pot; stirring the good, the bad, the beautiful and the ugly.
When it comes to the astronomically big wide world of Disney, their representation of this particular notion is a little more unique. Specifically, it is Disney’s ‘live-action’ remake that has proven to stamp its prominence within the industry, grasping original and adored animated classics and manipulating them to become something ‘real’. But just how successful are these ‘live-action’ remakes? As we travel to both the past and future whilst simultaneously remaining in the present, let’s delve into the renowned Disney Castle and examine these ‘live-action’ remake films and whether they do in fact, breathe new life after all.
The Lion King (2019)
Beyoncé and Donald Glover in The Lion King (2019). Photo: Disney Enterprises, Inc.
One of the most anticipated films for 2019 as an entirety, The Lion King was the thirteenth film to become a part of the Disney ‘live-action’ franchise. Where we once again had the opportunity to venture into the sunburnt yet vibrant Pride Lands of Africa and reconnect with beloved friends and foes of the Circle of Life.
Overall, mostly positive outcomes were achieved for the film; whether it be Hans Zimmer’s punchy and tasteful soundtrack, Pumbaa (Seth Rogen) and Timon’s (Billy Eichner) colourful and comedic cheekiness as the Warthog and Meerkat duo or the often-breathtaking CGI craftsmanship, there was a significant amount to enjoy. I did question whether the pacing of the narrative was favourable. Whilst a lengthy build-up of the protagonist is desirable in a narrative to cultivate their motivations and struggles in a genuine way, the focus on Simba as a young cub was a little excessive, leading to an almost rushed and anti-climactic viewing experience of the film’s second half. In saying this, the run time boasted an extra half-hour from that of the original film, so I guess we can’t get too critical.
Whilst The Lion King does fall under this umbrella of the ‘live-action’ remake, the film only features one real shot, with the rest of the images being constructed by animators and CGI artists.
Speaking of the original film, the desire to adapt one of Disney’s most treasured animations into the ‘live-action’ setting was intriguing. Upon initial consideration, it seemed a strange concept to make life-like animals sing, dance and harmonise as an ensemble. And an even stranger practice to tease these CGI animals as being ‘real’.
Whilst The Lion King does fall under this umbrella of the ‘live-action’ remake, the film only features one real shot, with the rest of the images being constructed by animators and CGI artists. And so, as confusion bubbles away, questions begin to arise. How does this film sit with others of its kind? Can we really define it as being a ‘live-action’ remake? And therefore, was this remake film worth it? It’s a sting to end on a climax like this, but for a narrative that has become so renowned on a global scale (and that now subtly finds itself in a state of fuzziness), it’s a necessary ask. Ultimately, The Lion King’s reboot aided in ‘reviving’ and ‘rejuvenating’ its chronicle, but whether it ‘refreshed’ (or would ever be able to refresh) a storyline that dates back to 17th century literature (from Shakespeare’s Hamlet), remains a lingering mystery.
Aladdin (2019)
Naomi Scott and Mena Massoud in Aladdin (2019). Photo: IMDB.
Another film for the 2019 calendar year, Aladdin made its mark as an eccentric and lively reboot, following in the footsteps of its 1992 original inspiration. As opposed to The Lion King, the notion of the ‘live-action’ was clearly noticeable in the film, with CGI effects kept to a minimum.
Reviewing the film, positive aspects included Alan Menken’s stimulating soundtrack (a favourite song being the illustrious opening, Arabian Nights!), the often-rapid divergence in sequences (shifting from montage to musical, comical to serious, raucous to romantic) as well as the confident acting performances from the leads of Aladdin (Mena Massoud), Princess Jasmine (Naomi Scott) and the Genie (Will Smith). Criticism could be levelled at the imbalance in character development (with some characters favoured quite significantly over others for screen time) but otherwise, the magic carpet ride throughout the film was smooth and pleasurable.
Shifting focus back to the topic of discussion, the transition of the narrative of Aladdin from animation to ‘live-action’ proved to be beneficial. Whilst the filmmay also find similarity with The Lion King in not necessarily being improved or ‘refreshed’, it was with a comfortable progression of the storyline into reality as well as a balance of loyalty and variation from the original masterpiece that led to a solid final product, and a worthy member of the ‘live-action’ remake franchise. Currently, there is ongoing debate between which of The Lion King and Aladdin is the better film in 2019, dominating the online media platforms. And yet, despite the fact that both films offer a unique experience for their audiences, finding a winner between the two may just come down to which one has, quite simply, the most clarity.
Disney Live Action Remakes Post 2014
To be able to analyse and critique the present-day film industry is always fascinating, for one can immediately discuss and debate new content surrounding a film’s release. However, as we continue into the depths of the Disney Castle, it is now necessary to turn back time on the concept of ‘live-action’ and examine past films that have helped to mould this specific notion.
From 2014 onwards, the film industry welcomed a surge of Disney ‘live-action’ remakes into our cinemas. From Maleficent (2014) to Cinderella (2015), The Jungle Book (2016) to Beauty and the Beast (2017), audiences once again became witness to the return of a multitude of beloved fairytale characters on screen. The 2016 filming year also saw inclusion of a sequel to Tim Burton’s Alice In Wonderland (2010); unfortunately, travelling with Alice through the Looking Glass in this sequel didn’t provide anything too exciting.
So who was who in these tales of reimagination? Being assigned the task of realising cherished animated characters into the live setting would be a prickly situation for the modern-day actor/actress. However, for these films which propelled the ‘live-action’ notion, it seemed that there were, in fact, no limits. While Angelina Jolie spread her wings (quite literally) and gave us the most chilling yet splendid depiction of the wicked queen Maleficent, Shere Khan saw reimagination from Idris Elba (The Jungle Book) and Gaston from Luke Evans (Beauty and the Beast). Additionally, as Helena Bonham Carter and Anne Hathaway starred in Alice in Wonderland and Australia’s Cate Blanchett stole the show as Lady Tremaine in Cinderella.
Overall, it’s necessary to note the majority of the reimaginations in the remaking of Disney classics were inventive and pleasing, with exciting transitions from the Hollywood to fairytale settings. I personally find it intriguing as to how characters in reality can project emotion so much more distinctly to those in animation, leading to a more comprehensive viewership of connections and interactions between personalities.
Angelina Jolie in Maleficient (2014). Photo: Disney Enterprises, Inc
In addition to offering a fresh character interpretation, these films also saw an adaptation of various storyline elements. This ranges from the inclusion of a notoriousJabberwocky, the omission of various musical numbers, non-talking mice to a complete shakeup in the fairytale concept of ‘true love’s first kiss’. The ‘live-action’ remakes took new risks in the journey to ‘rejuvenate’ their respective stories for the contemporary cinema.
Although there were times in which confusion skipped across our minds (Why does Alice have to slay a ferocious and foul beast to leave Wonderland?), the decisions to adapt and update aspects of the original chronicles were frequently enticing. I particularly enjoyed how several of the films chose to give a deeper insight into the ‘villain’ characters, often leading to a prominent shift in emotion from resentment to sympathy.
In essence, it was fundamental for these ‘live-action’ films to balance new character interpretation and new storyline elements with an impending loyalty to their original story. And whilst this may seem an impossible task to address, “It's kind of fun to do the impossible.” (Walt Disney)
As we have seen with the Disney ‘live-action’ remake films of the past and present, audiences have become witness to evident changes. In character representation, in storyline, and most prominently, in overall perspective.
Where possibilities become boundless and ideas flow endlessly, where an industry is constantly re-shaping and shifting to align with new contexts and audiences, it seems that breathing in the future through the production of these ‘live-action’ remakes (rather than staying stationary in the past) is just what we need. And although there may be times where we may have questioned the remake, the creation of these reimaginations might just help to reinforce what Disney means to the film industry: A platform that can revolutionise.
Excitement now bubbles away as we anticipate the upcoming ‘live-action’ remakes of the future: Lady and the Tramp (2019), Mulan (2020), Cruella (2020) and many, many more!